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How Big a Threat Are Iranian-Backed Cyberattacks?

2026-04-25 04:06:02

2026-04-24T10:00:00.000Z

On April 7th, when the Cybersecurity and Infrastructure Security Agency (CISA) issued a warning that cyber actors affiliated with the Iranian regime had gained access to internet-connected programmable logic controllers (P.L.C.s), small computers used by myriad American critical-infrastructure sectors—including municipal energy, water, and wastewater agencies—to automate their systems, Operation Epic Fury was in its thirty-eighth day. April 7th was also the day that President Donald Trump declared both a “total and complete victory” over Iran and a fragile two-week ceasefire while negotiators attempted to hammer out a peace plan. The CISA advisory, which noted that the Iranian-linked cyber actors were “conducting this activity to cause disruptive effects within the United States,” was a blunt reminder that, in the digital age, the battlefield has expanded to encompass the geography of everyday life.

Conventional warfare, in which bombs are dropped, shipping channels are mined, and the Geneva Conventions apply more broadly, tends to be time-limited (even if the conflict endures for a long period of time). Nation-state hacking, in contrast, is a constant feature of geopolitics. The Iranians have been knocking around in the United States’ critical infrastructure for years. In 2013, according to the Department of Justice, a hacker affiliated with the Islamic Revolutionary Guard Corps infiltrated the control system of a dam in New York State. Ten years later, Iranian-backed hackers breached the Aliquippa, Pennsylvania, water system and gained access to the P.L.C. that controlled water pressure. (The intrusion set off an alarm, alerting workers who were able to switch to a manual system.) As Jake Braun, the executive director of the University of Chicago’s Cyber Policy Initiative, wrote recently in the Washington Post, water systems are especially vulnerable because they often lack basic cybersecurity protection.

Still, why would a government more than six thousand miles away from a suburban Pennsylvania town that has fewer than ten thousand inhabitants be poking around in a distant municipal water system? The easy answer: because it could. Small municipalities typically have neither the expertise nor the funds to adequately secure their infrastructure, leaving them open to intrusion. This enables adversaries to enter such systems to learn how they work; consider it a kind of field trip. Then, once an intrusion is discovered—perhaps by design—it generates fear beyond the borders of a small town, sending the message that an attack could happen at scale somewhere else. One need only look at what happened in the winter of 2015, when Russia-linked hackers launched a successful attack on a power grid in Ukraine, to glimpse what might happen if an adversary with access to the grid that powers, say, New York City, were to attack it. Anything that required power would go dark: homes, stores, cash machines, elevators, water pumps, traffic lights, heat.

To be clear, in this country, this is still the stuff of B-list thrillers. As Alex K. Jones, who chairs the department of electrical engineering and computer science at Syracuse University, told me, the Iranians have not unleashed what he called a Hollywood-style attack because it’s unlikely that they have the capacity to do so. (Another possible explanation is that launching a cyberattack on a major U.S. city would be an act of war that could invite an unprecedented response.) Even so, a major attack is not necessary to inflict pain. The intrusion into the industrial P.L.C. controllers mentioned in the CISA advisory resulted in business disruptions and financial losses. And it was only one of scores of hacks that, according to a number of cybersecurity firms, have been carried out, both in the lead-up to the conflict and during it. These have included distributed denial-of-service attacks, in which hackers unleash an army of bots from millions of I.P. addresses to overwhelm a server with internet traffic in order to crash the websites of companies, government agencies, and the military, causing chaos, friction, and loss of services, and at least one hack in which a health-care organization had its data held hostage for ransom. “We don’t live in a world where there is not going to be an impact on U.S. citizens at home,” James Turgal, a retired executive assistant director to the F.B.I. who is now the vice-president of Optiv, a cybersecurity consultancy based in Denver, told me. “From a cyber perspective, we’re very early on.”

In fact, weeks before the first Israeli and U.S. bombs were dropped on Iran, “threat hunter” researchers from Symantec and Carbon Black, two cybersecurity firms that are part of Broadcom, reported that the hacking group Seedworm had infiltrated the networks of an American airport, a bank, and a U.S. software company that does business in Israel as a defense and aerospace contractor. The researchers wrote that, because Seedworm already had “a presence on U.S. and Israeli networks prior to the current hostilities,” the group was in “a potentially dangerous position to launch attacks. While we have disrupted these breaches, other organizations could still be vulnerable to attack.” Bombs detonate once, but, unless cyber vulnerabilities are patched, they can remain available to malicious actors.

Seedworm, which also goes by the names MuddyWater, Static Kitten, and Mango Sandstorm, among others, is, according to the F.B.I. and CISA, a front for the Iranian Ministry of Intelligence and Security (MOIS). Employing such proxies is a common feature of state-sponsored hacking: these groups obscure a regime’s involvement and offer plausible deniability. To actually track “some guy on a keyboard in Tehran, at a particular I.P. address, at a particular moment, is very difficult,” Turgal explained, which then makes attribution challenging and retaliation tricky.

On March 11th, twelve days into Operation Epic Fury, the Handala Hack Team, which, according to the Justice Department, is another MOIS front group, allegedly unleashed a “wiperware” attack on Stryker, a Michigan-based global medical-technology company, causing disruption on thousands of devices worldwide. A post on X, apparently from Handala, stated, “We announce to the world that in retaliation for the brutal attack on the Minab school and in response to ongoing cyber assaults against the infrastructure of the Axis of Resistance, our major cyber operation has been executed with complete success.” Though no one was killed in the Stryker attack, some surgeries had to be postponed, implants could not be delivered to patients, and the company’s share price plummeted.

While disrupting the business of an American multinational company may seem a pallid response to the destruction of an Iranian primary school where more than a hundred children were killed, such asymmetric attacks in the physical and digital realms have been a feature of this conflict. As Israel and the U.S. were bombing Iran, Iran was not only attacking Qatar, the United Arab Emirates, Saudi Arabia, and other Arab states; it was launching cyberattacks against American allies in Europe and companies across the Middle East in an effort to pressure the American leadership to cease the attacks. Iran has also conducted drone strikes that damaged data centers in the region that are owned by Amazon Web Services, which operates the world’s largest cloud platform—high-value targets with major financial and operational ramifications. Alexander Leslie, a government-affairs senior adviser at the threat-intelligence firm Recorded Future, wrote in an e-mail that “Iran’s strength has long been persistence, coercive signaling . . . and techniques that create real disruption without needing exotic capabilities.”

If there are any takeaways from the CISA advisory, it’s that companies and municipalities must take steps to secure their systems and stay vigilant. Too bad, then, that three days before the U.S. and Israel struck Iran, the F.B.I. director, Kash Patel, fired dozens of people from the counterintelligence unit responsible for monitoring Iranian threats. (CNN reported that they were also responsible for investigating Trump’s classified-document haul.) Days later, Patel himself became a target of Handala, which leaked hundreds of private e-mails and photos from before his time at the Bureau. The F.B.I. director “will now find his name among the list of successfully hacked victims,” the group’s website proclaimed, alongside photographs of Patel smoking a cigar and taking a picture of himself holding a bottle of rum. (The Times reported that a spokesperson for the F.B.I. confirmed the attack, though the paper added that it appeared that the website was being hosted by a server in Russia.)

CISA, which operates under the auspices of the Department of Homeland Security, has also been decimated by the Trump Administration. In the first year of President Trump’s current term, around a third of the agency’s employees either left under pressure or were fired. The team responsible for testing the nation’s security defenses was among those pushed out. Trump’s 2027 budget, released a few days before CISA issued its current advisory, proposes to cut more than seven hundred million dollars from the agency; among other things, the budget eliminates its election-security program. (In 2024, the Iranians are thought to have targeted the campaigns of both Trump and Kamala Harris.) “Cutting its budget by $707 million, on top of what’s already been cut, is a gift to every nation-state actor that’s been quietly targeting U.S. critical infrastructure,” Seemant Sehgal, the founder and C.E.O. of BreachLock, a cyber-defense company based in New York City, told the website Nextgov.

The bombing in Iran has been paused, at least for now, but Leslie told me, “The ceasefire does not end the cyber conflict; it changes its rhythm. On our side, the leading indicators remain the same: renewed scanning, credential attacks, and opportunistic exploitation. . . . The strategic effect Iran often seeks is not just technical disruption but also uncertainty, mistrust, and political pressure.” Or, as a post on a Handala social-media account put it, “We did not begin this war, but we will be the ones to finish it. And let it be clear: The cyber war did not begin with the military conflict, and it will not end with any military ceasefire.” ♦



“Fat Swim” and Literature’s Fatphobia Problem

2026-04-25 02:06:02

2026-04-24T18:00:00.000Z

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Emma Copley Eisenberg is the author of a new collection of short stories titled “Fat Swim.” Her work questions body image and the suppression of fatness in contemporary culture; Eisenberg recently paid for a billboard over a busy highway in Philadelphia bearing the slogan “Your gut is a terrible thing to lose.” Eisenberg talked with The New Yorker’s Jennifer Wilson about using fiction to explore body image, and the fatphobia that she finds in literature by some of today’s acclaimed writers.

Further reading:

  • Fat Swim,” by Emma Copley Eisenberg

New episodes of The New Yorker Radio Hour drop every Tuesday and Friday. Follow the show wherever you get your podcasts.

The New Yorker Radio Hour is a co-production of WNYC and The New Yorker.

Why Senator Rand Paul Voted to Limit Donald Trump’s War Powers

2026-04-25 02:06:02

2026-04-24T18:00:00.000Z

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One of Donald Trump’s few critics within his party is the libertarian-leaning senator Rand Paul, from Kentucky. Paul was recently the sole Republican to vote in favor of restricting the President’s power to make war in Iran. He also opposed Trump on tariff policy, and on his budget bill in 2025. “He loves voting ‘NO’ on everything,” the President fumed. Paul ran for President in 2016, and is considering another run for the White House in 2028. He talks with David Remnick about how he would differentiate himself from J. D. Vance and Marco Rubio, his opposition to the attack on Iran, and Pete Hegseth invoking Christianity in the war. “People quoting the Old Testament about smiting the enemy” concerns Paul greatly: “If this becomes Christians versus Muslims, I don’t see a quick end to a war.”

Further reading:

New episodes of The New Yorker Radio Hour drop every Tuesday and Friday. Follow the show wherever you get your podcasts.

The New Yorker Radio Hour is a co-production of WNYC and The New Yorker.

Daily Cartoon: Friday, April 24th

2026-04-24 23:06:01

2026-04-24T14:44:15.444Z
A person on a street corner holds a sign that reads “The end is near Or maybe not Ive really lost all sense of time...
Cartoon by Benjamin Schwartz

“Half Man” TV Review

2026-04-24 19:06:02

2026-04-24T10:00:00.000Z

The course of fifteen-year-old Niall Kennedy’s life changes the first day he walks to school with his almost-stepbrother, Ruben. It’s 1986 and, like so many boys with spindly physiques and a love of science fiction, Niall (Mitchell Robertson) is dogged by bullies—though, in his case, the harassment is also a result of his mom’s romantic involvement with a woman, Ruben’s scowling mother. Niall, closeted and cerebral, is terrified of Ruben (Stuart Campbell), an earthy, charismatic bruiser fresh from a juvenile-detention center, but he intuits that the older boy may be his best chance at survival. When Niall’s tormentors yell their usual slurs on that fateful morning, it’s Ruben who makes the next move. He shoves Niall into a wall and asks, with their faces inches apart, “Are these guys bothering you, Bambi?” They both know that Ruben is a pit bull, and that he’s asking for permission to be unleashed. When Niall finally cops to the obvious, Ruben pulls out a knife and urges him to head to class alone: “You’re not a witness if you don’t see what happens.”

The new HBO/BBC drama “Half Man” follows Niall and Ruben, who consider themselves brothers even after their mothers’ breakup, for the next three decades. Set largely in a working-class neighborhood of Glasgow marked by chipped paint and dowdy patterns, the series adheres to the jagged rhythms of Niall and Ruben’s relationship, skipping over years of separation or estrangement to catch them as they reënter each other’s orbits, willingly or otherwise. Niall (played as an adult by Jamie Bell) might deploy his sibling as an attack dog, but he can’t insure that Ruben (a newly ripped Richard Gadd) won’t occasionally charge at him, too. As their mutual competitiveness grows shockingly ugly, Niall learns to turn Ruben’s Samsonian strength and fury against him, knocking down the pillars of Ruben’s own life.

Men, society tells us ad nauseam, are simple creatures. Even those beating the drum of the male-loneliness crisis seem convinced that the problem of men’s stunted emotional lives is easily solved: more group activities, less time online. Gadd, the creator of “Half Man” as well as one of its stars, clearly believes the matter is more complicated than that—and makes the dynamic between his two leads as thorny, codependent, and, at times, troublesomely erotic as it can get. (The other male-bonding drama of the moment, “DTF St. Louis,” in which one middle-aged suburban dad is credibly suspected of murdering another, is practically feel-good by comparison.) Gadd’s ambitions are evident from the opening scene, when, in a framing device set in the present day, Ruben crashes Niall’s wedding—an event he learned of that morning. The pair sequester themselves in a shed while guests revel outside in the sunshine. “You look gorgeous,” Ruben tells Niall. “If I wasn’t family, I’d get up underneath that kilt right away.” He reaches for Niall’s privates in a juvenile show of dominance. We soon see that Ruben has made a lifelong habit of such sexualized power plays—and that Niall’s deep-seated shame about his queerness was likely augmented by shame about his attraction to a man who calls him brother.

“Half Man” is a grimmer affair than Gadd’s previous series, “Baby Reindeer,” a fictionalized account of his experience being aggressively stalked by a woman for four years. The most potent material in the new show is connected to themes he explored there as well: internalized homophobia, the sexual assault of men, and the evasion of blame. In “Half Man,” Gadd’s treatment of these themes is richer and more mature; with the two projects, each defined by shifting notions of victimhood and culpability, he’s emerged as a bard of self-loathing. Ruben, never book-smart, is aggrieved by the doors that open for Niall as a result of his academic achievements. Niall, for his part, only comes to hate himself more as gay acceptance goes mainstream, his initial distress over his sexuality compounded by humiliation at being unable to get past that distress. His yearning for Ruben’s approval and fear of his own desires are so acute that, when the show flashes forward to Niall’s wedding again, one half expects to see a woman waiting at the altar.

His soon-to-be spouse, as it turns out, is someone he met decades earlier—a reminder that, for a story with such chronological breadth, the cast of characters is surprisingly small. But the meagreness of the world befits its protagonists, both of whom become stuck in certain phases after failing to come to grips with their formative traumas. The size of the ensemble also belies its strength. Of particular note is Niall’s mother, Lori (Neve McIntosh), who joins her ex-girlfriend, Maura (Marianne McIvor), in defending Ruben despite his many transgressions. As the show progresses, she treads a blurred line between offering Ruben second chances and simply enabling him, especially as his antisocial rampages repeatedly land him in prison. Her unsentimentality toward her own son, meanwhile, is funny, upsetting, and, I suspect, thoroughly British. “I’ve given you life,” she scolds Niall. “I don’t need to give you respect.”

Gadd’s post-penitentiary Ruben is another formidable presence, endowed with a leonine rumble that betrays his dissatisfactions, and a predatory gaze that quickly sizes up those around him. But, as the series’ writer, Gadd doesn’t deliver much in the way of fresh insight about troubled masculinity. Ruben is a hurt person who hurts people, and the kind of patriarchal figure who sees it as his right to subdue members of his own family, as long as he also protects them from outsiders. The most didactic and mannered scenes are the ones that purport to explain him; for all these efforts to psychoanalyze, he ultimately feels more like a cautionary tale than a fully realized character.

But the show’s plotting and Niall’s exquisite complexity more than make up for Ruben’s relative flatness. The many leaps in time to the wedding—to which Ruben shows up on a motorcycle, angry enough to knock his brother out with a single punch—consistently ratchet up the sense of dread, and the suspense over why or how these two have stayed enmeshed. (A flashback to Niall’s university days offers a clue: alone and overwhelmed in his first week away from home, he calls Ruben in the middle of the night, whispering, “I need you,” as though relapsing; Ruben arrives the next morning like a vampire who’s been invited in.) The sad but realistic turns in their lives are engrossing, as is their slow convergence. If Ruben is blatantly pathological in his obsession with status, his tendency toward self-sabotage, and his inability to take responsibility, Niall is gradually revealed to be afflicted with the same qualities, albeit in a less expected package. His characterization benefits from its rootedness in a specific era, when it was more understandable that he might have been too busy trying on masks to sort out his identity—or to reckon with his complicity in his brother’s crimes. Bell, whose screen roles have long radiated decency and sensitivity, channels that guilelessness once more, only to expose it as yet another façade that helps Niall to conceal his darker impulses.

Against all good sense, Niall pursues a childhood dream of becoming a writer—an aspiration he cultivates by reimagining his father, a bartender who scribbled on the side and died young, as a thwarted literary talent. His breakthrough comes with an autobiographical novel, which centers on a thinly veiled Ruben. Critics and journalists prove more interested in the book’s antihero than in its author; as Ruben himself crows, “I’m your fuckin’ muse.” But Niall is the series’ singular achievement, in part for his awareness that he’ll always be a shadow to a man who has more life force than he knows what to do with. On his wedding day, Ruben asks him whether he loves him. After dissembling for a minute, Niall gives an honest answer: “It’s the only thing I’ve ever felt.” ♦

Oneohtrix Point Never’s Sense of the Uncanny

2026-04-24 19:06:02

2026-04-24T10:00:00.000Z

The year 2025 presented a full distillation of the Daniel Lopatin experience. The distinguished electronic artist, who performs as Oneohtrix Point Never, co-produced one of the biggest pop records of that year, the Weeknd’s dark finale, “Hurry Up Tomorrow”; scored Josh Safdie’s adrenalized Best Picture nominee, “Marty Supreme”; and released his own mutative album, “Tranquilizer,” an ambient archival project that mimes since-deleted nineties sample libraries that Lopatin discovered in the Internet Archive. His music has spanned genres and mediums, with the composer filling various roles, but its through line is its sense of the uncanny and Lopatin’s understanding of how warping sonic textures can tap into surreality. His process, which bridges the neoclassical, the avant-garde, and even the kitsch, has made him one of the defining trackmasters of the twenty-first century. “I’m an amateur musician. I’m a professional recordist,” he told the Creative Independent.

Oneohtrix Point Never playing music
Illustration by Arthur Sevestre

Lopatin’s instincts serve him well across all of his creative endeavors, but chiefly in his own compositional work, which now spans eleven LPs that feel committed to creating a repository of every possible sound—from the eerie, liminal minimalism of “Replica” (2011) to the turbocharged rave-pop of “Garden of Delete” (2015) to the psychedelic collage “Magic Oneohtrix Point Never” (2020). On April 29-30, Oneohtrix Point Never opens Bang on a Can’s four-day Long Play Festival, at Pioneer Works, for his only currently slated shows in America this year. His set, which follows a performance by the jazz keyboardist John Medeski, features accompanying visuals from the experimental digital artist Freeka Tet.—Sheldon Pearce


The New York City skyline

About Town

Broadway

As dramatic stakes go, the question of whether to install a stop sign on a picturesque block might seem low. But that’s only until you meet the Vernon Point Neighborhood Association in “The Balusters,” a sharp comedy by David Lindsay-Abaire, for Manhattan Theatre Club. The association’s newest member is Kyra (Anika Noni Rose), who joined after moving to the affluent enclave it is in charge of preserving—or policing, depending on your perspective. Neighborhood gossip delivers revelations; seemingly minor matters involving porch railings swell into arguments about social justice. Lindsay-Abaire’s multidirectional repartee gets added zip from the first-rate cast, especially Margaret Colin as the unapologetically blunt Ruth. With propulsive direction by Kenny Leon.—Dan Stahl (Friedman; through May 24.)


Ambient Pop

What if the birth of John the Baptist was celebrated at a black-lit basement rave? The French singer-songwriter Oklou conjures such a scene on “Harvest Sky”—an anthemic dance tune inspired by her memories of la Fête de la Saint-Jean—from her 2025 record, “Choke Enough.” The album is full of strange, brilliant contradictions; Oklou slides masterfully between fun and eccentricity, pump and pathos. On the title track, she threatens to crash a car for a good photo, and then ponders whether her dad might appreciate an especially pretty moonlit night. Synthesizers warble and phasings range from gritty-grindy to flip-phone-keypad mellow. Oklou is taking “Choke Enough” on tour after postponing for a year to spend time with her newborn. And monolinguals needn’t worry, she sings in English.—Leo Lasdun (Terminal 5; May 2-3.)


Dance
Herizen Guardiola Dancing Leisure Activities Person Adult Face and Head
Parsons Dance.Photograph by Rachel Neville / Courtesy Parsons Dance

Parsons Dance has long been known for its high-energy, high-spirited style. That’s also the trademark of Courtney (Balenciaga) Washington, a choreographer from the worlds of competition dance and vogue ballrooms. “Fearless,” her first work for the Parsons troupe, has fun in the crossover space, demanding precision and fierceness from the dancers as they arrange themselves in one formation after another. The program also features a première by the choreographer David Parsons himself, set to the second movement of Beethoven’s Ninth Symphony, and one by Mayte Natalio, a former company member who’s made a name for herself as a choreographer of theatre, including “Suffs” on Broadway.—Brian Seibert (Joyce Theatre; April 29-May 10.)


Broadway

Even amid Broadway’s queer renaissance, Richard O’Brien’s “The Rocky Horror Show” stands out as a transgressive blast. Luke Evans is a gloriously seductive Frank-N-Furter; Josh Rivera an adorable Rocky; Amber Gray a sharp Riff-Raff; Michaela Jaé Rodriguez a sweet Columbia; and Stephanie Hsu a spicy standout as Janet, wriggling with horndog virtuosity through “Touch-a, Touch-a, Touch-a Me.” Rachel Dratch is perfectly arch as the smoking-jacketed narrator, riffing effortlessly with the audience. (No one threw toast, but we yelled “asshole” and “slut.”) There’s no ironing out the kinky plot, thank the Lord—Frank tricks the couple into sex; gender identities remain queenily chaotic. The director Sam Pinkleton (“Oh, Mary!”) uses simple, clever devices such as tiny, neon-green castles and wacky placards, lending the show a shaggy pro-am energy. Give yourself over to ultimate pleasure.—Emily Nussbaum (Studio 54; through July 19.)


Television
Dan Levy and Taylor Ortega look to their left outside the frame.
Dan Levy and Taylor Ortega.Photograph by Spencer Pazer / Courtesy Netflix

“Big Mistakes,” on Netflix, co-created by Dan Levy and Rachel Sennott, has a manic, overheated energy: Nicky (Levy), a quasi-closeted pastor, and his sister Morgan (Taylor Ortega), an elementary-school teacher, are unhappy in their jobs; when Morgan steals a necklace, they’re kidnapped by a Turkish gangster named Yusuf, who forces them to perform odd jobs. Nicky and Morgan’s narcissistic mom, Linda, is played by a wonderfully typecast Laurie Metcalf. The gangland drama is deeper and darker than the domestic one, strengthened by the unexpected portrayal of the Russian toughs as bumbling in their own way. The show comes close to making a point about criminal and family hierarchies—but it, like its characters, has a policy of shooting first, asking questions later.—Inkoo Kang


Movies

“Michael,” the story of Michael Jackson’s rise to fame, presents a surprisingly detailed view of the behind-the-scenes dealings on which his career depended. As a child performing with his brothers at the family home in Gary, Indiana, young Michael (Juliano Krue Valdi) is beaten by his father, Joe (Colman Domingo), who demands obedience along with musical discipline. The Jackson Five find success; then, in the late seventies, the adult Michael (played, with extraordinary flair, by Jaafar Jackson, Michael’s real-life nephew) seeks a solo career—and confronts Joe’s domineering maneuvers. The director, Antoine Fuqua, working with a script by John Logan, portrays Michael as an emotionally stunted and grievously wounded artist of historic greatness. The movie omits allegations that the singer sexually assaulted children (which he denied).—Richard Brody (In wide release.)


Oneohtrix Point Nevers Sense of the Uncanny

Pick Three

Sarah Larson on podcasts in which families and mysteries converge.

1. “The Idiot,” from the journalist M. Gessen and Serial Productions, explores the case of Gessen’s “least favorite cousin” and a murder-for-hire plot. Cousin Allen, a shady-seeming braggart living in Russia, shows up to Gessen’s father’s house in Cape Cod with his young son, having apparently abducted the boy; Gessen—a wryly appealing narrator-detective—is immediately suspicious, and unspools the head-spinning details of Allen’s behavior while treating the listener like an intelligent friend.

2. In “Passenger Seat,” the independent journalist and first-time podcaster Tom Joudrey explores the strange case of a retired lawyer who was kidnapped at gunpoint in 2012 while walking her dog in rural Ohio. She survived, and now Joudrey wants to know why she helped her captor—and thanked him in the courtroom. The revelations get familial, psychological, and stunning, as do Joudrey’s conversations with the kidnapper, now in prison. The series’ earnestly naïve sound design (horses neighing, cars revving) only enhanced my appreciation of Joudrey’s sophisticated storytelling.

Raven Chanticleer poses for the cameras outside of Madison Square Garden.
Raven Chanticleer outside Madison Square Garden, in 1971.Photograph by Don Jacobsen / Newsday RM / Getty

3. The African American Wax Museum, in Harlem, was the singular creation of the artist and eccentric Raven Chanticleer, a sharecropper’s son from South Carolina who reinvented himself, spectacularly, in Manhattan. After he died, in 2002, his relatives sold the museum’s building and, it was rumored, destroyed its contents. In “Raven,” the journalist Gavin Whitehead investigates what happened to Chanticleer’s wax Harriet Tubman, Langston Hughes, and other creations, and unearths unexpected wonders galore, set to subtle background music that riffs on “Take the A Train.”


P.S. Good stuff on the internet: